TEN 

RECREATIONAL 

PARTIES 


BY 

HELEN DURHAM 











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Ten 

Recreational Parties 

by 

HELEN DURHAM 


THE WOMANS PRESS 


600 LEXINGTON AVENUE 

NEW YORK, N. Y. 

a ¥ * u 


GV ni \ 

.T)& 

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Copyright, 1924, by 
Helen Durham 

This is a revised and amplified edition of Six Recreational 
Parties, by the same author. The last three are not parties, 
strictly speaking, but suggestions for adding variety to larger 
entertainments. 


Printed in the United States of America 



MAR ~3 '24 


©C1A777630 



CONTENTS 


Page 

Foreword.5 

Peanut Party.7 

Newspaper Party.12 

Balloon Party.16 

Doll Party (Pantomime).20 

Japanese Party.25 

George Washington Party.31 

Circus Party .37 

Italian Street Scene.43 

Gypsy Scene.47 

Christmas Service.53 


3 




















FOREWORD 


As a recreational director under the War Work Council 
of the National Board of the Young Womens Christian 
Associations, I discovered that it was difficult to get 
simple yet colorful recreational material suitable for the 
various groups with whom I worked. Game parties, in 
which straight games were played, became tiresome. 
Each group, accustomed to the thrill of the movies, 
sooner or later demanded something more exciting, so 
I hit upon the plan of combining the most popular 
games, featuring with them some simple property such 
as balloons or newspapers, as an entire evening’s enter¬ 
tainment. The Peanut, Newspaper and Balloon Parties 
are the result of this experiment. Then, after a while, 
the groups would want to take a more active part them¬ 
selves. The Japanese, Doll, George Washington and 
Circus Parties are the outcome of this stage in my re¬ 
creational experience. These parties are more elaborate 
than the first; in fact, they require a great deal of prepa¬ 
ration and cooperation on the part of the group. After 
these came the demand for something still more colorful 
and entertaining. Again I took something familiar, such 
as a group of songs and dances, and combined them with 
some idea of the dramatic, costumed and set them in a 
suitable and attractive background. The result was 
surprisingly effective in spite of the simplicity of the 
material and the idea. The Italian Street Scene and 


5 


the Strolling Gypsy Scene are two examples of this type 
of entertainment. 

The Christmas Service is an example of a still more elabo¬ 
rate attempt at “recreational dramatics,” as one might 
call this collection. The particular merit of the tableau 
is that it is very simple to produce, yet very lovely, 
if well done. The pictures themselves can be planned 
and worked out before the tableau itself is put together. 
In one or two rehearsals the music, chorus singing and 
the pictures can be combined. If the performers them¬ 
selves catch the spirit of the occasion the effect of the 
whole is very beautiful and impressive. 

Helen Durham. 


6 


A PEANUT PARTY 


In which peanuts are featured in a variety of old and new 
ways. 

Invitations: Carefully split a large-sized peanut and fold 
inside a small piece of white Japanese tissue on which 
the invitation is written. Tie the peanut together with 
a narrow orange ribbon. Or write the invitation on an 
orange-colored card and attach to it several round pea¬ 
nuts, the shells of which have been grotesquely deco¬ 
rated to represent tiny faces. The color, orange, is 
suggested in the invitations, properties and decorations 
only because it vividly contrasts with the neutral shade 
of the peanut. 

Properties: Upon arriving, the guests are given small 
orange-colored paper or tarlatan bags in which they 
may keep the peanuts won in the various games. At 
the end of the party there is a final counting and the 
person having the greatest number of peanuts in his 
bag wins the prize. 

Note: The games suggested need not be played in the fol¬ 
lowing order. This is one arrangement which has proved 
satisfactory for both large and small groups. The first 
three games are played at a table around which four or 
six people sit. A bowl of peanuts and two or three hat¬ 
pins should be placed on each table before the game 
starts. 


7 


1. GUESSING GAME 


At a given signal from the director, each person at the 
table tries to guess the number of peanuts in the bowl. 
After all the players have had their chance, the peanuts 
are counted. The person who came nearest to the cor¬ 
rect number receives four peanuts as a reward, which 
he keeps for the final counting. All the other peanuts 
are returned to the bowl for the next game. 

2 . PIERCING GAME 

Each person is given a hatpin with which he tries to pierce 
the peanuts in the bowl. He has three trials. All the 
peanuts he pierces he may keep. 

3. GRABBING GAME 

Each person in turn grabs all the peanuts he can hold in 
his hand. After counting the number grabbed, he re¬ 
turns all of them to the bowl and the next player tries 
his grabbing capacity. The person grabbing the 
largest number may keep that number of peanuts as a 
reward. 

4. PEANUT RELAY 

Chairs and tables are pushed aside and the players are 
lined up for a relay race in two, three or four even lines, 
depending upon the size of the crowd. 

Draw on the floor two chalk circles for each relay line, one 
directly in front of each leader and another several 
yards beyond, at the farther end of the room. Place 
one peanut in each circle. At a given signal each 
leader picks up, with a table knife, the peanut from the 


8 


circle directly in front of him and runs with it to the 
circle at the other end of the room. He must then pick 
up the peanut from that circle and carry it back to the 
first circle. Then he touches off the next player in his 
line, who tries to do the same stunt, that is, exchange 
the peanuts from one circle to the other circle. The 
winning line is the one which accomplishes this feat most 
quickly. Each member of it gets three peanuts as a 
reward; the line which finishes second gets two peanuts 
each. 

5. PEANUT THROWING 

From these relay lines swing into one big circle, with 
hands joined. 

Place an empty waste-basket in the middle of the circle. 
Give each player three peanuts. At a given signal each 
player tries to throw his three peanuts into the basket. 
Those that fall on the floor he loses. Those that land 
in the basket he may reclaim. As a reward he receives 
twice the number reclaimed. 

6. PEANUT PASSING 

Line up two even groups facing each other with hands 
joined. At a given signal each leader, the first person 
in each line, picks up with his free hand as many peanuts 
as possible from a large bag at his feet. He passes 
them to the person next to him, who in turn passes 
them to the person next to him, and so on. The person 
at the very end of the line deposits them in a bag at his 
feet. At the end of two or three minutes a signal from 
the director ends the game. The peanuts passed by each 


9 


line are counted and the total amount is divided among 
the players of the line which passed the greatest number 
in the given time. 

Of course in passing the peanuts the players must not 
unclasp hands. If a peanut is dropped, two people 
with hands clasped must pick it up. 

7 . PEANUT ALPHABET 

Retain the players in the same formation as for the peanut 
passing. 

Have two sets of cardboard letters which spell the word 
“peanut.” Choose any twelve players, six from each 
side. Line up these teams of six opposite each other. 
Give a letter “p” to the first player on either side, a 
letter “e” to the next one, and so on, so that each team 
spells the word “peanut.” The director then calls off 
a word like “net.” Each player who has the letter “n” 
must step out in front of his team, holding up his letter 
so it may be plainly seen by the director. The person 
on that team holding the “e” must step out beside him, 
and so on until the required word is formed. The team 
that forms the words most quickly wins. As a reward 
each member of the team and everyone on that side gets 
a peanut. Use simple words like “pa,” “tune,” “pat,” 
“pen,” “aunt,” “pun,” “ate,” “pan,” and finally the 
word “peanut.” 

8. MUSICAL PEANUT 

Let the crowd break up and seat themselves about the 
room. 


10 


Send someone out of the room. Give to any member of 
the group a “musical peanut,” which is of course an 
ordinary peanut. Explain to the group that when the 
searcher enters, all must sing some popular song, 
at first very softly, and then more loudly as the searcher 
wanders in the vicinity of the musical peanut. The 
searcher is then invited in and, guided by the song of 
the group, tries to find the peanut. When the peanut 
is found, the person holding the musical peanut becomes 
the searcher. 

9. PEANUT BAGS 

Before the guests arrive, paper bags containing various 
numbers of peanuts are strung across the end of the 
room, about eight feet from the floor. Give each player 
three peanuts and line them all up about twenty or 
twenty-five feet from the bags. At a given signal the 
entire line tries to hit a bag. Each person has three 
throws. He may have the contents of each bag he hits. 

Note: It is usually necessary to leave someone near the line to cut 
down the bags the moment they are won, otherwise there will be 
much confusion. 

10. PEANUT HUNT 

At a given signal the players scurry around, looking for 
peanuts which have been hidden in all parts of the room. 
Each player may keep all he finds. 

11. PEANUT PRIZE 

After the players have counted the number of peanuts 
won throughout the evening, have them march to music 


11 


around the room in a big circle. When the music stops, 
those having less than fifteen peanuts drop out of the 
circle. The marching continues until the music again 
stops, when those having less than twenty-five peanuts 
drop out, and so on until the person having the largest 
number of peanuts stands alone. As a reward he is 
given a grotesque doll made of peanuts. 

A NEWSPAPER PARTY 

In which newspapers are featured in a variety of ways. 

Have the hostesses and guests, upon arriving, dress them¬ 
selves in newspaper costumes. All sorts of unique ideas 
can be carried out, such as newspaper duncecaps, bon¬ 
nets, aprons, frills for collar and cuffs, pleated skirts. 
It will be found that surprising originality and taste 
will be shown by some. Have plenty of string, pins and 
toothpicks at hand, for they will be needed to keep these 
fragile creations in place. Open the party with a grand 
march and have the judges immediately award the prize 
for the cleverest newspaper costume. 

Have the players group themselves in a three, four or five 
line formation, ready to play an adaptation of Ban¬ 
croft’s “Maze Game.” 

1. POLICEMAN AND NEWSBOY 

The chaser, who carries a paper club, is called the “Police¬ 
man.” The runner is called the “Newsboy.” Have the 
players stand in parallel ranks with hands joined, 
thereby making aisles through which the Policeman can 


12 


chase the Newsboy. When the director gives the order 
“right face,” or “left face,” the players drop hands and 
face in that direction, clasping hands with their new 
neighbors. In this way new aisles are made which alter 
the direction in which the Policeman is running and 
which give the Newsboy a better opportunity of escape. 
The director, who tries to keep the Policeman from 
catching the Newsboy, must give his orders with alert¬ 
ness and wisdom, so as to prevent the capture. Neither 
Policeman nor Newsboy can break ranks or tag across 
lines. It sometimes adds excitement if two Policemen 
are used. 

2. PREFERRED NEWSPAPERS 

This game is an adaptation of the familiar “Black and 
White.” 

Line up the players in two even ranks down the center of 
the floor, with their backs to each other. Call each side 
after a popular local paper. At a given signal the di¬ 
rector shouts the name of either newspaper. The 
players in the line bearing that name run frantically 
to the side of the room toward which they are facing. 
The players on the opposite side turn and try to catch 
them. Those caught must go over to the other side. 
The second line-up, uneven this time, proceeds in the 
same way, awaiting the call of the director. 

3. MUSICAL NEWSPAPER 

Divide the players again into the same even groups. This 
game is an adaptation of the familiar “Musical Part¬ 
ners.” 


13 


Every player takes a partner from his group, so that 
each partner has the same newspaper name. They 
march around the room to music. When the music 
stops for a moment, everyone must change partners, 
being sure that the new partner belongs to the same 
paper,. This necessitates hasty shifting and much 
shouting of identification. 

4 NEWSPAPER RELAY 

Line up the players in two or three even ranks, giving each 
player two single sheets of newspaper. At a signal 
from the director, the leaders race down to the opposite 
goal and back again, stepping only on the sheets of 
paper, which they lay on the floor as they progress. 
The next player in line repeats the process after he is 
touched off by the preceding player. The line which 
finishes most quickly wins. 

5. PROTECT THE NEWSBOY 

Adaptation of the familiar “Wolf and Hind.” 

The players form in a straight line with their hands around 
the waist of the person ahead. At the very end of the 
line stands the “Newsboy.” The chaser, called the 
“Policeman,” faces the leader of the line and at a given 
signal tries to catch the Newsboy. The line, however, 
tries to keep itself between the Policeman and the News¬ 
boy. The players must hold on tightly to each other, 
so as not to break the line, thereby enabling the Police¬ 
man to dart through and get a better chance at the 
Newsboy. When that Newsboy is caught he changes 


14 


places with the Policeman, who takes the place at the 
head of the line. The new Policeman tries to catch the 
person at the very end of the line, who has now become 
the Newsboy. 

6. CATCH THE NEWSBOY 

Adaptation of “Bird Cage.” 

Divide the players into groups of four. Three of each 
group join hands in a circle and call themselves “Police¬ 
men;” the fourth is called the “Newsboy.” Without 
unclasping hands, the Policemen try to catch in their 
ring the Newsboy, who may run anywhere in the room. 
If he is caught he becomes a Policeman and one of the 
Policemen takes his place. 

7. PREFERENCE OF LOCAL PAPERS 

Adaptation of familiar “Jerusalem and Jericho.” 

The players are in circle formation. The director, who 
stands in the center of the circle, takes a vote on which 
of the two local papers the group prefers. The director 
then explains that if he calls the name of the preferred 
paper, everyone must repeat the name and bow, but if 
he calls the name of the unpreferred paper, everyone 
must repeat the name, but not bow. If anyone bows 
after the name of the unpreferred paper is called, that 
person must come into the center of the circle. The 
director himself bows after both names, thereby trying 
to get the other players to mimic him. The success of 
the game depends largely upon the enthusiasm of the 
director and his helpers. 


15 


8. NEWSPAPER FIGHT 

Blindfold any two players and give to each a club made of 
newspapers folded lengthwise. Spread a newspaper on 
the floor. At a signal from the director, each combatant 
puts his left hand on this newspaper and with his paper 
club in his right hand fights his opponent. Being blind¬ 
folded, both quickly lose their sense of direction, so in¬ 
stead of striking each other they usually strike the 
floor. If there are several pairs, each cheered by their 
followers, the game becomes very exciting. 

BALLOON PARTY 

Decorate the room with balloons, and perhaps crepe paper 
streamers. Upon arriving give every guest a crepe 
paper cap to which he may attach a balloon for deco¬ 
ration. Give balloons as prizes for each game. All the 
balloons which are used as prizes may be effectively used 
as a central decoration in some such way as follows. Have 
a large barrel hoop, bound with crepe paper, suspended 
from the ceiling in the center of the room. To this 
attach by strings dozens of colored balloons. When a 
person wins a balloon, give him one of these at once or 
wait until all the games are over and the final score is 
taken and then present the balloons as a final ceremony. 

1. BALLOON RELAY 

Three or four strings should be stretched tightly from one 
end of the room to the other, about four feet from the 


16 


floor. An ordinary brass ring hangs on each taut 
string. To each of these rings attach a bright-colored 
balloon. 

Divide the players into even groups, according to the 
number of strings. Line them up at one end of their 
respective strings. At a given signal, the leader of each 
line starts blowing the balloon on his string down to the 
other end of the room. After each leader has taken 
his balloon down to the other end of the room, he runs 
back to place and touches off the next player in line, 
who runs down to the balloon and returns it to the origi¬ 
nal place in the same fashion. The third player in line 
then takes his turn, and so on. Of course no player 
must touch the balloon with his hands. A balloon is 
given as a reward to the player in each line who accom¬ 
plishes the feat most quickly. 

2. BALLOON TOSSING GAME 

Keep the players in the same formation. Each group is 
given a large sheet which they hold by the edges parallel 
to the floor. At a given signal the director tosses a 
balloon into the center of the sheet. Each team tries to 
keep this balloon tossing in the air by moving the sheet 
up and down. No one is allowed to touch the balloon 
save the director. Even if it falls to the floor the di¬ 
rector must pick it up and put it back in place. The 
group which keeps the balloon moving the greatest num¬ 
ber of minutes wins. Each player of that winning group 
gets a balloon as a prize. 


17 


3. MUSICAL BALLOON PARTNERS 

Give each person a colored balloon, being careful that 
there is an even number of each color. The two people 
having the same color march together. An extra per¬ 
son, who marches alone, is given a balloon of any of 
the colors used. When the music stops, everyone must 
quickly change partners, choosing a new one who carries 
a balloon of the same color as his own. This gives the 
extra person an opportunity to get a partner, who, 
however, must carry a balloon of his color. When the 
music again starts, the new person left without a partner 
marches alone, waiting his chance to get a partner. 

4. BALLOON VOLLEY BALL 

Stretch a piece of colored string across the room. The 
object is the same as in volley ball, that is, to keep the 
balloon off the floor on your own side and make it touch 
the floor on your opponents’ side. Use either one or 
two balloons, depending upon the number of players. 
Of course use only the simplest rules of volley ball, thus 
making the game suitable to play in the average room. 
Each player on the winning side gets a balloon. 

5. BALLOON SNATCHING 

A large balloon is placed on a chair, or preferably on a 
small stool, anywhere on a line which is halfway be¬ 
tween two even lines of players. At a given signal a 
player from each line walks forward to the balloon. 
Each tries to snatch it and run back to his place without 

* '' y M 


18 



letting his opponent touch him or the balloon. If he 
arrives safely it counts one for his side. The next 
two players then try the same stunt. After each pair 
of players has tried the stunt, each member of the line 
having the largest score gets a balloon. 

6. TABLE BALLOON 

The players are seated at a table. The object of the 
game is for each side to bat several balloons back and 
forth without letting them drop on the table. If a side 
fails to return the balloon while it is in midair, it counts 
one against them. Players may rise to bat the balloon 
when it is necessary but they must immediately sit down 
again. Each player on the winning side gets a balloon. 

7. BALLOON DANCING 

This introduces the game element into social dancing. 

Give to each person a colored balloon, being sure that 
there is an even number of balloons of the same color. 
Each dancer must find and dance with a partner with a 
balloon of the same color. When the music stops, every¬ 
one must find a new partner with a balloon of the same 
color. 

Give to each couple a balloon. At a given signal all start 
dancing, at the same time keeping their balloons tossing 
in the air. If a balloon falls to the floor it counts 
against that couple. The couples who keep their bal¬ 
loons in constant motion throughout a dance receive a 
balloon as a prize. 


19 


DOLL PARTY 


The invitations may be written on pieces of colored paper 
cut in the shape of tiny dolls. Have the guests come to 
the party dressed as dolls or children and the hostesses 
as nursemaids. 

1. DOLL DRESSING CONTEST 

Place the guests at small tables on which there are bits of 
colored crepe paper, scissors, string, pins, needles and 
thread. Give everyone a tiny penny doll to dress. It 
is a good plan to have on exhibition one or two dolls 
already dressed in crepe paper, to furnish ideas to the 
guests. Very cleverly dressed dolls can always be 
bought from the Dennison Company, 26 th Street and 
Fifth Avenue, New York. One of these makes an ex¬ 
cellent prize for the person who makes the best doll 
costume. Usually people, whether old or young, if given 
a few suggestions will enter into the spirit of the game 
and the most ingenious and attractive creations will be 
made. 

2. CHILDREN’S GAMES 

Play the simple, familiar games such as “London Bridge” 
or “Drop the Handkerchief,” “Going to Jerusalem” and 
so on. 

3. MIDNIGHT IN THE DOLL SHOP 

Entertain the guests by dramatizing some children’s story, 
or staging a pantomime such as the following. 


20 


Midnight in the Dole Shop 
A pantomime by Barbara Wellington. 

Scene: A doll shop with counters running along left wall, 
back-stage and right. 

Characters , from stage right to left : 

Right—Brownie, French Doll, Tin Soldier. 

Back—Chinese, Indian, Jack-in-the-Box, Dinah, Golli¬ 
wog, Dutch Girl. 

Left—Two Rag Dolls. 

The clock strikes twelve. Curtain opens on dolls lifeless 
on counters, in characteristic attitudes. Brownie is 
sitting cross-legged; the French doll is holding her skirt 
and peeking up at the soldier; the soldier holds his gun, 
stiffly; the Chinese has his arms folded, hands in sleeves; 
the Indian stands with tomahawk raised; Jack is in his 
box with cover shut; Dinah’s hands are on her hips; 
Golliwog’s arm is around her; the Dutch doll has a pail 
on her arm; the rag dolls lean limply against each other. 

All slowly come to life. Jack pops out of his box and goes 
through jerky exercise. A dumb-bell drill may be used 
(music 4-4 time). At the finish, Indian raises toma¬ 
hawk over Jack with threatening attitude. Jack pops 
back into box; cover shuts. Indian does war-dance of 
seeing enemy, giving war cry (silently), fighting battle, 
and smoking peace-pipe. 

He ends by chasing the rag dolls down-stage and around to 
the right and center, taking his place where they were. 
The rag dolls do a limp dance exactly alike, leaning 
against each other and flopping heavily at each step. 


21 


They finish by dropping down up-stage right, with feet 
straight out before them. 

Jack-in-the-Box pantomimes clapping and the tin soldier 
sends him into his box again by aiming his rifle. Then, 
wound up by French doll, he marches forward stiffly to 
center-stage. She works his arms and head and makes 
him embrace her, then winds him up for dance step of 
progressing across stage, toeing out with both feet, and 
then in. She does a ballet dance kick-step as she watches 
him. Finish off-stage. 

Golliwog and Dinah try to imitate them in the same posi¬ 
tions on stage, and burlesque the steps. They turn it 
into an old-fashioned cake-walk and as they finish up¬ 
stage right, Dinah waves her bandana and drops it. 

The Chinese doll shuffles forward and picks bandana up, 
goes back to get his tub, scrubbing board and iron, and 
proceeds to launder handkerchief, center-stage, facing 
audience. He turns scrubbing board over for an ironing 
board. Finishes, folds handkerchief and hands it to 
Dinah with bow. Goes left. 

The Dutch doll comes forward, sees imaginary water 
splashed onto the floor and holds up her hands in hor¬ 
ror. She gets pail, and kneeling, scrubs vigorously, 
facing left center and then right, on knees in each new 
position. Then, trying the floor with her sabot, she puts 
away her pail and does a Dutch wooden shoe dance. 
Finishes right. 

The Brownie, who has been mimicking everybody as he sat 
on the counter, right, hops down and does a clowm dance, 
ending with a cartwheel, left. 


22 


As each doll finishes his stunt he takes his place in a semi¬ 
circle at back-stage. 

All swing into dance. As orchestra sounds cock-crow, all 
break line and scramble back to original places. 

Tableau, as in the beginning. 


Doll Dance 

To the “Parade of the Wooden Soldiers” from the “Chauve Souris,” 
published by Ed. B. Marks Music Company, 223 West 46th Street, 
New York. 

1. 8 measures. 


Introduction—4 measures—dolls take places in line. 

(Omit 28 measures of music.) 

Starting R foot, kick in front, kick to side. 1 measure. 
Step R foot behind L, step L to side, step R in front and 
hold. 1 measure. 

Repeat, starting L. 2 measures. 

Repeat, starting R. 2 measures. 

Repeat, starting L. 2 measures. 


2. 8 measures. 

Point R heel forward, point R toe in back. 1 measure. 
Take 3 short steps forward, starting R, and hold. 

1 measure. 

Repeat, starting L foot. 2 measures. 

Step back R and kick L. 1 measure. 

Step back L and kick R. 1 measure. 

Step back R and kick L. 1 measure. 

Step back L and kick R. 1 measure. 

(Omit 4 measures of music.) 


23 


3. 16 measures. 


Whole line moves to R, toeing in and out, as follows: With 
heels together and toes out, rise on R toe and L heel 
and swing both feet to R so that toes are pointing in; 
then step on R heel and L toe and swing feet to R so 
that toes are pointing out again. 1 measure. 

Repeat 7 times. 7 measures. 

Repeat, swinging feet to L instead of R so that line re¬ 
turns to original position. 8 measures. 

(Omit 24 measures of music.) 


Repeat 1. 


4. 8 measures. 

5. 8 measures. 


Repeat 2. 

Interlude. 4 measures. 

With knees bent and feet together, jump on both feet, 
making one half-turn to R. 1 measure. 

Jump back to place. 1 measure. 

Jump on both feet, making one half-turn to L. 1 measure. 
Jump back to place. 1 measure. 


6. 8 measures. 

Move to R with following step: Step R to side, step L, toe 
beside R heel, step R to side, step L, toe beside R heel. 

1 measure. 

Repeat. (Keep R foot on floor and knees stiff, as though 
being pushed by L foot.) 1 measure. 

Turn in place with same step. 2 measures. 


24 


Move back to place with same step, using L foot and R toe. 



2 measures. 

Turn in place with same step. 

2 measures. 

7. 6 measures. 


Step back R and kick L. 

1 measure. 

Step back L and kick R. 

1 measure. 

Step back R and kick L. 

1 measure. 

Step back L and kick R. 

1 measure. 

Step back R and kick L. 

1 measure. 

Step back L and kick R. 

1 measure. 

8. 8 measures. 


With very small steps run to front of stage. 

4 measures. 

Throw kisses to audience on all sides. 

4 measures. 


A JAPANESE PARTY 

A Japanese Party may be made very attractive and pic¬ 
turesque if Japanese costumes, properties and music are 
featured. 

Write the invitations on Japanese paper fans and ask the 
guests to come in Japanese costume. Light the room 
with low-hanging Japanese lanterns and decorate it with 
Japanese screens, hangings and flowers. Artificial 
cherry blooms, which look surprisingly like the real 
ones, can be made in the following way. Out of pale 
pink French tissue paper cut little circles about one and 
a half inches in diameter and make a pin hole in the 


25 


center of each circle. Slip these circles on bare 
branches, creasing them around the branch so as to 
give the effect of a budding blossom. The hostesses, 
who are in Japanese costume, should preside over the 
tea trays. Have the guests sit in small groups on the 
floor and be served tea and rice cakes in Japanese fash¬ 
ion. By way of entertainment the story of Puccini’s 
opera, “Madame Butterfly,” can be told in some such 
charming way as the following. 

THE STORY OF “MADAME BUTTERFLY” 

A girl, dressed to represent Madame Butterfly, tells the 
story of the opera while appropriate bits of the score 
are being played. 

Use an end or corner of the room and decorate it to 
represent a Japanese garden or interior. A Japanese 
screen as a background, one or two low-hanging lan¬ 
terns, lighted, a rug and several vivid cushions on the 
floor, some cherry blossoms or a low bowl of Japanese 
flowers make a very suitable and effective setting. Ma¬ 
dame Butterfly, dressed in a pale gray or wisteria Jap¬ 
anese kimono and brilliant obi (sash), enters with short, 
pattering steps. She wears a chrysanthemun in her 
hair and perhaps she carries a Japanese fan. She 
kneels upon the cushions and bows in oriental fashion 
to her audience. After the prelude to the opera, she 
begins the tale of Madame Butterfly. The story must 
be simply and vividly told, bringing out its pathos and 
charm. When she finishes she bows again to the audi- 


26 


ence, rises and makes her exit with the same little 
pattering steps. 

Oriental bow: Kneel on both knees and bend directly for¬ 
ward so that the head almost touches the ground; then 
slowly assume an erect position. 

If the narrator can sing one or two selections from the 
opera, especially the famous solo “One Fine Day,” of 
course it adds tremendously. It is very important that 
the music harmonize with the words, which necessitates 
careful selection and practice. Probably only an ac¬ 
complished musician with a feeling for atmosphere can 
successfully do this. 

The following song and dance can follow Madame Butter¬ 
fly’s story. 

JAPANESE SONG AND DANCE 

Music. Geisha Dance, by Eduardo Marzo in “Dance 
Songs of the Nations,” John Church Company, pub¬ 
lishers, New York. Words of the song by Margaret 
Lacy. 

To be sung by the dancers themselves, or by one or more 
soloists while the dancers go through the steps. 

In a forest of Japan a pretty maple grew. 

She coquetted morn and even with the strong bamboo; 

Maidens hung on her their lanterns when they came to 
dance, 

And she watched with exultation each admiring glance. 


27 


Then her leaves would gently whisper, nestling in the breeze, 
To the pretty maidens dancing there beneath the trees, 

“0! O! Dance, O pretty maidens, dance ye on the grass 
below, 

Forward bending, lightly swaying gently to and fro. 

Each of you will have a hero, loyal, brave and true, 

But not one will be more loyal than my strong bamboo.” 

When the bamboo heard her singing he was filled with glee 
And he nodded to the maple, so that she might see 
That he loved her very Searly and was worthy, too, 

Of the trust that she confided in her strong bamboo. 

And the maple peeping over saw his signal sweet, 

Sang again unto the maidens dancing at her feet. 

“0! O! Dance, O pretty maidens, dance ye on the grass 
below, 

Forward bending, lightly swaying gently to and fro. 

Each of you will have a hero, loyal, brave and true, 

But not one will be more loyal than my strong bamboo. O!” 

Stage this song and dance in the same setting that was 
used for the Madame Butterfly story. Before the 
dancers appear, place bright cushions, one for each 
dancer, on the floor in a semicircle. Have eight or more 
dancers enter from each side with little pattering Jap¬ 
anese steps, take their places behind their cushions and 
bow in oriental fashion to the audience. They are 
dressed in bright-colored Japanese kimonos and sashes, 


28 


with chrysanthemums in their hair. Each carries a fan 
which is held stiffly in front of her chest, with the fore¬ 
arm pressed slightly against the body. The head is 
held to the side in a prim little fashion such as one sees 
in old Japanese prints. Every gesture is formal and 
studied. (This is the Japanese pose referred to in the 
dance.) 

Japanese Dance 

For the introduction any number of measures may be 
played while the dancers enter and take their places. 

Figure 1 —16 measures. 

Starting on the first word of the song, “In,” make the 
following motions, keeping time with the music. 

(a) Sway to the R side. 1 meas. 

Sway to the L side. 1 meas. 

Sway to the R side. 1 meas. 

Body and head held erect. 1 meas. 

(b) The same motions, but starting L, 

Sway to the L side. 1 meas. 

Sway to the R side. 1 meas. 

Sway to the L side. 1 meas. 

Body and head held erect. 1 meas. 


4 measures. 
8 measures. 


through word 
“grew.” 

4 measures, 
that is, 

through word 
“bamboo.” 


Repeat through word “glance.” 
Interlude—Japanese pose. 


4 measures. 




Figure 2 —16 measures. 

Walk with the quick little Japanese pattering steps de¬ 
scribed above around the cushions to R, coming back to 
place on word “below.” 4 measures. 

Repeat (b) of Figure 1 through word “fro.” 4 measures. 

Walk in the same fashion as above around cushions to L, 
coming back to place on word “true.” 4 measures. 

Repeat (b) of Figure 1 through word “bamboo.” 

4 measures. 

Interlude—Japanese pose. 4 measures. 

Figure 3 —16 measures. 

Repeat (a) of Figure 1 through word “ glee.” 4 measures. 

Nod head slowly forward. 1 meas. 1 

Raise head slowly. 1 meas. I through word “see.” 

Repeat. 2 meas. J 

4 measures. 

Repeat (b) of Figure 1, through word “too.” 4 measures. 

Same nodding motion repeated twice, through word “bam¬ 
boo.” 4 measures. 

Interlude—Japanese pose. 4 measures. 

Figure —8 measures. 

Repeat (a) of Figure 1, through word “sweet.” 

4 measures. 

Repeat (b) of Figure 1, through word “feet.” 4 measures. 

Interlude —All dancers kneel slowly forward and down on 
both knees without losing balance or bending body, and 
slowly sit back on their heels in oriental fashion. 


30 


Figure 5 —16 measures. 

Repeat (a) of Figure 1, through word “below.” 

4 measures. 

Repeat nodding motion of Figure 3, through word “fro.” 

4 measures. 

Repeat (b) of Figure 1, through word “true.” 4 measures. 

Turn head slowly to R side. 1 meas. 1 

Turn head slowly to L side. 1 meas. I * 1 ^^ 

Hold head, face forward. 2 meas. J am °°’ 

4 measures. 

As the dancers sing the prolonged “O” of the last two 
measures they bend their bodies forward so that their 
heads almost touch the floor. Repeat the music until 
they rise and exit with the same little pattering steps. 

PANTOMIME OR PLAY 

“Cat Fear,” a fanciful Japanese comedy in pantomime by 
Marion N. Gleason,* or any other Japanese play or 
pantomime, may be added in order to make a complete 
evening’s entertainment. 


COLONIAL OR WASHINGTON’S BIRTHDAY 
PARTY 

The guests are invited to come in Colonial costumes. The 
host should be dressed to represent George Washington; 

* The Womans Press. Price 50 cents. Royalty of $5.00; $2.50 to 
Y. W. C. A. groups. 


31 



the hostess, Martha Washington. Feature these two 
people as much as possible in the receiving line, as 
leaders of the minuet and grand march, and as master 
and mistress of the ceremonies throughout the evening. 
When it is time for the program to begin, have George 
Washington himself announce that he is going to pre¬ 
sent to his guests all the various types of American 
girls who live or will live in this country. 

The music then swings into a plaintive Indian tune and 
an Indian girl dressed in a striking costume of brown 
leather enters. She bows to George Washington, to his 
lady and to his guests and passes down the center of the 
room and away. George Washington then announces 
that a Puritan girl will be presented next. The music 
changes to “Auld Lang Syne,” and a lovely girl in 
Puritan costume enters, bows shyly to her host and 
passes in a demure manner down the center of the room. 
A Colonial girl and her escort come next. They dance 
the minuet for the guests. One by one the various types 
of girls who have lived in this country present themselves. 
The program can be made elaborate or simple, depending 
upon the number of characters used. The modern 
American girls may be omitted or others substituted, 
according to occasion. Those suggested are described 
below in detail. If one wishes to add others, see the 
Fashion Review, “Down Petticoat Lane,” published by 
The Womans Press, from which the idea of this party 
has been taken. 


32 


AMERICAN GIRLS 


Character Music 

American Indian Girl 1500 “The Chattering Squaw” 
Striking brown Indian costume, beaded and fringed; brown 
stockings, leather moccasins, and beaded head-band with 
bright red feather at the back. Stands at opening in 
characteristic Indian pose, head up, body erect, arms 
folded across chest. Comes down room with familiar 
Indian loping step, bows to guests and exits. 

Puritan Girl 1650 “Auld Lang Syne” 

Simple gray Puritan costume; white cap, kerchief, cuffs 
and apron, white stockings and black shoes. 

Bows shyly to the audience, walks forward with hands 
demurely clasped, makes a quaint courtesy to George 
Washington and exits. 

Colonial Girl and Man 1750 Mozart’s Minuet from 

“Don Juan” 

Girl in Colonial costume of bright satin: tight bodice, lace 
kerchief, pannier skirt; white stockings, black pumps 
with silver buckles; powdered hair or wig. 

Gentleman in brocade or satin coat, vest, ruffled stock and 
frill, knee breeches, white stockings, black pumps with 
Colonial buckles, and powdered wig. 

They enter together, bowing to each other, then to audi¬ 
ence, and come to the center of the room. They dance 
the Colonial minuet,* and exit at farther end of the 
room. 

* For description of dance see “Ten Timely Dances,” The Womans 
Press. 


33 



1800 “Glow Worm” 


Empire Girl and 
Partner 

Girl in high-waisted costume of Empire period: short, 
puffed sleeves, neck cut low off shoulders, long train; 
poke bonnet of satin to match gown, either worn or 
carried by streamers; high-heeled satin slippers to 
match gown; hair parted and done high in back with 
curls at each side. 

Gentleman in tight-fitting satin trousers, satin coat of 
darker color, brocaded vest, ruffled stock and high silk 
hat. 

They enter and dance Gavotte. 

Hoopskirt Gire 1850 “Believe Me, If All Those 

Endearing Young 
Charms” 

Girl in wide, old-fashioned hoopskirt costume; tight 
basque, lace kerchief, ruffled pantalettes, poke bonnet, 
white lace mitts and small parasol. 

Gentleman in light broadcloth trousers, long-tailed coat, 
plain double-breasted vest of a contrasting color, high 
stock, high silk hat and burnsides. 

They stroll in together. When they reach the center of 
the room the music changes to Jump Jim Crow from 
“Maytime” by Victor Herbert. The man sings the song 
to the girl and they dance together.* 

Bustee Girl 1875 “When Johnnie Comes 

Marching Home 
Again” 

Girl in old-fashioned bustle costume of silk: long full skirt 
* “Ten Timely Dances,” The Womans Press. 

34 



with very stiff petticoats underneath, tight bodice, leg- 
o’-mutton sleeves; elaborately trimmed hat of the period, 
perched high on the head; black silk mitts and parasol. 

She enters with quick steps, courtesies to host and hurries 
down the room. 

Southern Girl “Dixie” 

Girl in light, ruffled dress and large floppy leghorn hat 
covered with flowers. She carries a ruffled parasol and 
flowers in her arms. 

She enters, smiling left and right, courtesies in a rather 
flirtatious manner, presents a flower to her host and 
saunters down the room. 

Western Girl “Cheyenne” 

Girl in short khaki riding skirt and blouse, red handker¬ 
chief around neck, broad-brimmed western hat, high 
boots, belt and pistol. 

She dashes in, waves hat to the audience and to host and 
rushes out through audience. 

Debutante and Dancing Any popular waltz 
Partner 

Lovely girl in dance frock; stockings and evening slippers 
to match. Carries a bouquet of flowers. 

Enters with partner as if entering a ballroom and bows 
to the host. They dance some of the latest steps. 

Modern Gym Girl Any suitable music 

Girl of athletic type in gym costume of dark blue bloomers, 
white middy, black tie, black stockings and white 
sneakers. 


35 


She carries a basket ball which she dribbles down to center 
of room. 

Evening Girl Any popular song 

Tall striking-looking girl in handsome evening gown 
with stockings and slippers to match; bright velvet 
evening wrap with handsome fur collar. Carries huge 
black ostrich fan. 

She enters with great poise and assurance, displays her 
gown like a manikin and exits down the center. 

Bride and Her Attendants Wedding March from 

“Lohengrin” 

Beautiful girl in white satin bridal gown with long court 
train and white tulle veil caught with orange blossoms. 
Carries huge shower bouquet of white roses and lilies- 
of-the-valley. 

Attendants in organdie dresses of pastel shades; tarlatan 
hats to match gown; small nosegays of pink roses. 

Bridesmaids enter by twos, followed by the bride. The 
wedding procession passes down the center to the end of 
the room, where the bridesmaids group themselves in a 
semicircle around the bride. The other performers 
enter and come forward to congratulate the bride. The 
music changes to a march. George Washington gives 
the bride his arm and together they lead everyone, per¬ 
formers and guests, in a grand march. At the close of 
the march George Washington may make a little speech 
to the guests, saying that he hopes everyone has enjoyed 
his party and that they will come again next year to 
help him celebrate his birthday. 


36 


A CIRCUS PARTY 


A Circus Party may be made just as elaborate or just as 
simple as one wishes. If one is planning to give an 
elaborate affair, detailed suggestions can be found in 
“A Circus,” published by the Womans Press.* The 
following plan has been worked out to meet the demands 
of those who wish to give a rather simple circus party. 

A typical circus barker stands at the outer door. In 
professional lingo he invites the guests to come inside. 
“Ladies and gentlemen, right this way, right this way! 
The cleverest collection of comical characters that ever 
came to town! Right this way, ladies and gentlemen, 
right this way! Nothing finer in the world! Don’t fail 
to see it. Right this way !” 

The room in which the circus is held should be decorated 
to look like a circus tent, if possible. Stretch a piece of 
old canvas across the ceiling so that it gives the effect of 
a tent roof. At each end of the room arrange booths 
where refreshments are served. Pink lemonade and ice¬ 
cream cones should be in one, and perhaps “hot dogs” 
in another. Have peanuts distributed by venders 
throughout the crowd. Try to arrange all sorts of side 
shows. Display in one the freaks, such as the armless 
woman, an Albino, the dog-faced boy, the bearded lady, 
the tallest man in the world and others of Barnum and 
Bailey fame. Be sure that there is a good barker to 
“ballyhoo” them and to point out the peculiarities of 

* “A Circus,” The Womans Press. Price 50 cents. 


37 



each. Have one or two fortune-telling booths, perhaps 
a Gypsy palmist and a Turkish crystal gazer. 

All sorts of throwing contests can be arranged to attract 
and amuse the crowd. For instance, in one booth have 
a row of cocoanuts suspended from the ceiling on strings. 
Give everyone three chances at hitting a cocoanut. If 
anyone succeeds he may keep the cocoanut as a prize. 
Or have a broken china booth where each person may 
take three chances at breaking any bit of crockery he 
wishes. 

Or a game known as “Hoop-la” amuses people immensely. 
In the center of a roped-off ring place several prizes on 
small blocks of wood. The object of this game is to 
ring these blocks with ordinary embroidery hoops, which 
should exactly fit over the blocks. The person who 
throws a hoop so that it circles the block completely, 
gets the prize on that block. 

Or have a tub or watering trough full of water, on which 
small shallow dishes are floating. The object of the 
game is to throw coins onto these dishes. The money 
that lands in the dish is doubled and returned to the 
person but any which falls in the water he loses. (Of 
course this game should not be played if the party is an 
invitation affair.) 

A dart contest is always popular. Tack at the back of a 
booth a pack of playing cards. Give each player five 
small wooden darts with a sharp point in the end of 
each. The object of the game is to hit with these darts 
three cards of the same kind, that is, three Jacks or 


38 


three Queens. If a player hits the three cards of the 
same kind in five trials he is given a pack of playing 
cards as a prize. Such games always attract people, 
especially if at each booth there is a lively barker who 
will amuse the crowd and keep things going. 

To add atmosphere have all sorts of comical circus charac¬ 
ters wander through the audience—clowns, a rube and 
his wife, a big fat Irish policeman, Charlie Chaplin, Sis 
Hopkins and others. Let them play all sorts of tricks 
on each other and on the crowd. Have balloon and con¬ 
fetti venders everywhere, dressed in bright costumes, 

THE BIG SHOW 

Of course no circus party can be complete without a Big 
Show. This also may be made just as simple or as 
elaborate as one wishes. Suggestions for a few acts are 
briefly described. If one wishes to give a more elaborate 
program, detailed directions can be found in “A Circus” 
mentioned above. 

Stage the Big Show in the center of the floor and have the 
audience stand or sit around this ring. Use the barker 
who stood at the entrance as the ringmaster. In the 
most extravagant professional lingo he should announce 
each act, pointing out its marvels. There should be a 
band to help create the circus atmosphere. If a real 
band cannot be had, a kazoo or a vocophone jazz band 
makes an excellent substitute. Vocophones are papier- 
mache instruments the size and shape of regular band 
instruments but made in such a way that by blow¬ 
ing or humming through the mouthpiece a most melodi- 


39 


ous and voluminous sound comes forth. They may be 
purchased from A. Schoenhut Company, Hagert and 
Sepviva Streets, Philadelphia, Pennsylvania, eight in¬ 
struments for twelve dollars. Kazoos, small musical 
mouthpieces, are only a few cents apiece. Dress the 
musicians themselves in regular brass-buttoned uniforms 
such as bandmen usually wear, or dress them as a col¬ 
ored minstrel group with white duck suits, huge bright- 
colored ties and blackened faces. They should lead the 
parade and play the piano whenever such type of music 
is needed. 

PROGRAM 

The Parade. 

All the performers used in the circus should enter, headed 
by the ringmaster, who leads his group around the ring 
several times and out through the opposite exit. First 
comes a jazz band followed by the clowns, who prance 
from side to side tormenting the other performers and 
doing all sorts of queer antics for the crowds. The 
freaks should follow them, and then the wild animals, 
led by their animal trainer, the acrobats, the jugglers, 
bareback riders and the rest of the circus outfit. After 
the parade the ringmaster may detain the freaks in the 
ring to display the peculiarities of each. 

Animaes. 

If you can rent or make any animal costumes, be sure to 
have an animal act. It always amuses the audience if 
it is cleverly and realistically done. Have the ring¬ 
master, who acts as animal trainer, put the animals 


40 


through all sorts of stunts. He should have a long 
whip which he snaps vigorously as he shouts his orders. 
The lion and the tiger may play ball with each other, 
keeping up a constant roar as they toss the ball back 
and forth. The polar bear may ride a bicycle, the 
monkeys may have a boxing match. The act may be 
ended by having all the animals dance around on their 
hind legs to some lively fox-trot music. 

Clowns. 

Be sure to have a clown stunt. Use all sorts of clowns, 
tall and short, fat and thin. Have some of them do 
some tumbling or pyramid stunts, familiar to any gym 
instructors, and have others mimic them in a ridiculous 
fashion. They may end the act with a dance.* 

The other numbers on the program can be any special 
stunts that lend themselves to circus burlesque. Two 
others from “A Circus” have been included below to 
show the type of thing which is always popular at a 
circus and which will not take any special time or work 
in preparation. 

JATO, THE JAPANESE JUGGLER 
Judged to Have the Jump on All Jugglers. 

The act should be performed by two people who are able 
to put a lot of burlesque into it and play it successfully 
to the gallery. Jato, the juggler, dressed in Japanese 
kimono, balances his Japanese wife on his upturned 
feet. Of course she merely sits on his feet, balancing 

* “Ten Timely Dances,” The Womans Press. Price 50 cents. 


41 


herself with the tips of her toes safely on the floor, but 
bowing and smiling as though it were a most difficult 
stunt. Then, with the aid of an invisible wire suspended 
from the ceiling, Jato balances such articles as chairs 
and tables on his nose. He must hook them cleverly to 
the loop end of the wire, as he arranges them in place, 
so that for a time the audience is in ignorance of how 
he does the trick. Finally, Jato carelessly leaves an 
object hanging in midair and thus discloses his secret. 
His wife quickly snatches it away as he bows to the 
amused audience. The old trick of lifting a supposedly 
heavy weight, which is finally allowed to bounce on the 
floor, may be included in this act. 

DAISY, THE DARING AND DAZZLING TIGHT ROPE 
WALKER 

Displaying Unrivaled Skill and Recklessness. 

A tight rope stunt can be worked out by one, or even two 
girls, dressed in fluffy tarlatan costumes with tight 
bodices and short full skirts. Stretch a rope tightly 
across the floor. On it the performer makes her way 
across the ring, going through all the gestures and bal¬ 
ancing movements of a real rope walker while the or¬ 
chestra plays very melodramatic music. When she 
reaches the center, have the music stop while she makes 
a daring turn, presumably in midair. The orchestra 
starts up again with a bang. Of course there is much 
applause from the audience. She may even dance along 
the rope, finishing her stunt with a quick pirouette turn 


and a dainty jump to the floor. With many elaborate 
bows to the audience and to the ringmaster she leaves 
the ring. 

As a finale have all the performers prance around the ring 
several times to lively music, throwing confetti and ser¬ 
pentine at the audience. This procession will make a 
very gay and appropriate ending for the Big Show. 

Be sure that everything pertaining to your evening’s en¬ 
tertainment is gay, colorful and circus-like. Try to 
have the audience and performers catch the spirit of 
fun and jollity that makes a circus party go. 

AN ITALIAN STREET SCENE 

Note: This is a side show or interlude in a larger enter¬ 
tainment rather than a party in the usual sense of the 
word. 

The setting is a gay, sunny Italian street or corner in the 
market place. Across the center-back is a fruit stand 
piled high with vegetables and fruits and bunches of 
hanging bananas. At one side is a two-wheeled push¬ 
cart ; at the other, a wooden bench. When the curtain 
goes up everything suggests the happy, lazy activity of 
an Italian street on a bright summer day. The fat, good- 
natured looking fruit dealer, in gay peasant costume, is 
selling vegetables to a chattering peasant woman who 
carries a huge basket on her arm. A handsome Italian 
youth lounging on the bench is being persuaded by a 
pretty Italian flower girl to buy her flowers. “Fiori, 
belli fiori, un soldo al’uno” (Flowers, flowers, one cent 


43 


apiece), she urges. He feigns amused indifference and 
goes on smoking his cigarette. An Italian boy, sitting 
on the floor against the wheel of the pushcart, is playing 
a harmonica, utterly oblivious to his surroundings. An 
old bent-over vender, pushing his cart across the back 
of the stage, cries, “Tomati, potati, e’pepperone 
freschi” (Tomatoes, potatoes and fresh peppers). Two 
pretty Italian girls stroll by. 

This action goes on in pantomime until way in the distance 
“0 Sole Mio” can be heard. The boy with his har¬ 
monica stops his playing and runs in the direction from 
which the music comes. The music grows nearer and a 
group of strolling Italian street musicians enter. They 
are dressed in the bright costumes of the troubadour 
type. Some of them are playing stringed instruments. 
The singers carry tambourines. One of the girls in the 
group, who is evidently a dancer, catches sight of the 
handsome Italian youth and goes over toward him. Two 
peasant girls who chance to be passing by stop and watch 
her. The fruit dealer, his customer and several other 
passers-by stop and listen to the music. From “O Sole 
Mio” it changes into the well-known solo from “II Trova- 
tore,” “Oh, I Have Sighed to Rest Me,” sung by one of 
the men in the group. Without a pause, two others, a 
man and a woman, sing the duet from the same opera, 
“Home to Our Mountains.” 

The crowd applauds with great enthusiasm, and the 
music begins again in a gayer strain. “Fickle Is Woman,” 
from “Rigoletto,” is sung with spirit. The men sing 


44 


the first line, the women the next, and so on, alternating, 
until the last refrain, “Borne on the Breezes,” which is 
sung together. From that they swing into “Finiculi, 
Funicula,” which pleases the crowd immensely. The 
music changes to a lively Italian dance rhythm. The 
dancer who has been trying to attract the attention of 
the Italian youth strikes her tambourine and dances a 
wild, spirited dance, without taking her eyes off him. 
She ends the dance with several fast turns down-stage, 
stopping directly in front of him. The crowds applaud, 
the youth rises and together they dance the Tarantella 
to gay Tarantella music. Some of the singers and 
several of the onlookers join them, dancing and singing 
“La Peppinetta.” They dance round and round in a 
glad carefree fashion, laughing and throwing flowers at 
each other. 

The music swings back into “Finiculi, Funicula,” which 
everyone sings and applauds wildly. The musicians 
collect their pennies from the crowd and start off, sing¬ 
ing “O Sole Mio,” the song with which they entered. 
Some of the crowd follow, others wander off. The 
Italian youth watches the dancer for a minute and then 
resumes his lazy pose on the bench. The music grows 
fainter and fainter in the distance. The peasant woman 
continues her bargaining with the fruit dealer. The boy 
takes his place by the pushcart and goes on playing his 
harmonica. Gradually the street resumes its accus¬ 
tomed lazy atmosphere, which had been interrupted for 
a moment by a group of strolling players. 


45 


LA PEPPINETTA 


From “Songs of Italy,” collected by Marzo, published by 
Schirmer, New York. 

Milan (Lombardy). Sung by the group or by the dancers. 

Italian: Che bel moffin la Peppinetta! 

English: What a sweet face has Peppinetta! 

Corpa de dia, vui fagh l’amor! 

Body o’ me, if she were only mine! 

La la lie-ra la la la lie-ra la la la la la la 
la la! 

la la lie-ra la la la lie-ra la la la la la 
la la la! 

Che cara tosa allegra, scetta, 

She is a dear, I cannot forget her, 

L’eona bellezza, l’eon ver te-sor! 

Lively, and lovely, truly divine! 

La la lie-ra la la la lie-ra la la la la la la la la 
la la! 

la la lie-ra la la la lie-ra la la la la la la la la 
la la! 

Se o-na quei volta su quel moffin, 

If any time I dare to do it, 

Podess mo fagh quel che vui mi, 

What I would like to, on her face, 


la la 
la la 


46 


Mi ghe faria on bel basin, 

With a warm kiss I’ll venture to woo it, 

Che no desideri de pu d’insci! 

And I shall wish no more and no less! 

(Repeat last two lines twice.) 

D’insci, d’insci, d’insci, d’insci! 

No less, no less, no less, no less! 

La la lie-ra la la la lie-ra la la la la la la la 
la la la la la la lie-ra la la la lie-ra la la 
la la la la la la la la la la la la la la la 
la la! 

GYPSY DANCE 

This dance is arranged for four or more couples, a solo 
dancer and her partner. To be effective it must be 
staged with the proper Gypsy atmosphere and the 
larger the group the better. Have the Gypsies seated 
and lying around the stage in a rough circle. When the 
curtain rises they are talking, laughing and humming 
songs. Almost instantly a Gypsy man enters, dragging 
after him a Gypsy maid, whom he throws into the center 
of the circle. The captive gradually raises her head 
and, seeing the curious gaze of the group around her, 
decides to win them by her dancing. As the music starts 
and she begins to dance, some of the Gypsies in the 
group take up tambourines and play them in time to 


47 


the music; others sway back and forth or hum snatches 
of the tune. 

Music. Danse de la Gipsy, by C. Saint-Saens, from the 
Opera “Henry VIII.” 

Introduction. Rise to standing position with hands on 
hips. 2 measures. 


(a) 


(b) 


Steps. 

Figure 1 —16 measures. 

Starting with R foot, run 5 steps toward one group 
of Gypsies. 1 measure. 

Step forward on L foot, step backward on R foot and 
drag L foot back to R toe. 1 measure. 

Turn and repeat whole toward another group of 
Gypsies. 2 measures. 

Step with R foot and make half-turn toward R, 
count 1. 

Step with L foot and make half-turn toward R, 
count 2. 

Step with R foot and make half-turn toward R, 
count 3. 

Step with L foot and make half-turn toward R, 
count 4. 

Hold position, standing on L foot with R foot ex¬ 
tended at side and head flung back, looking over 
R shoulder, counts 5 and 6. 1 measure. 

Repeat (b) twice. 2 measures. 

Hold final position and swing R arm in arch in front of 
body and out to R at shoulder height. 1 measure. 


48 




Repeat (a) and (b), bringing feet together at end of final 
measure. 

Figure 2 —18 measures. 

Progress around circle, keeping back to center, with fol¬ 
lowing step, hands on hips. 

( Step L foot diagonally across R, bending both knees. 
Step R foot back and to the side, step L foot behind 
R, step R to the side. 


Repeat 8 times. 8 measures. 

(b) Step to R and pirouette with arms circling overhead. 

1 measure. 

(c) Repeat (a). 3 measures. 

r Run 5 steps, starting L, toward one of the groups of 

Gypsies. Step forward on R foot and hold R hand 

(d) <{ out as though in supplication. 1 measure. 

Repeat 3 times, advancing toward a different group 

each time. 3 measures. 


(e) 


Repeat (a) for one measure. 1 measure. 

Step L foot across R, bend L knee and extend R foot 
at side, then sweeping R arm across body in circle, 
raise body to standing position with feet together. 

1 measure. 

Repeat (e). 1 measure. 

Repeat (a) in double time. 3 measures. 

Pirouette in center of stage with arms circling overhead 
and pose with feet together, arms stretched out over¬ 
head and head flung back. 1 measure. 


49 




Figure 3 —34 measures. 


(a) 


Step R foot to side, bring L foot to R heel, change 
weight to L foot, change weight to R foot. (This 
should be done on the toes with a slight bend in the 
knees.) 1 measure. 

Repeat to L. 1 measure. 

4 mazurkas, starting R. 2 measures. 

Mazurka: Slide R foot diagonally forward R; 
bring L foot up to R heel and step on it, raising 
R knee high with R foot pointing down at L 
knee. 

Step forward R and hold with L foot at R heel, 
counts 1 and 2. 

Step back on L foot, count 3. Drag L foot back to 
position in front of R toe and then place weight on 
L foot, counts 4, 5, 6. 1 measure. 


Step back L, dragging R foot to position. 
Step back L, dragging R foot to position. 


1 measure. 


' Pirouette L, hands circling over head, and hold pose, 
standing with weight on L foot, L hand on hip and 
R arm extended over head. 1 measure. 

(An experienced dancer may substitute a leap-turn 
(c )■ for the pirouette.) 

Pirouette R and pose. 1 measure. 

Pirouette L and pose, swinging R arm across body 
and back to position over head. 2 measures. 

Repeat (b) through (c) three times. 24 measures. 


50 





Figure ^—12 measures. 

Hold final position of Figure 3 for 2 counts, then drop 
on R knee, with body and head turned toward R 
and bent over R knee and L leg extended straight 
out behind. L arm swung back following line of L 
leg, count 3. Rise to standing position through 3 
counts of music, swinging R arm forward and over 
head. 1 measure. 

Repeat to L. 1 measure. 


(a) 


(b) 


Hold 2 counts in standing position, replacing hand 
on hip. 

With 5 two-steps forward, starting R, progress in a 
small circle around stage. 

Note: The two-steps should be done with the knees 
slightly bent and a swaying motion from side to 
side. 2 measures. 


Repeat (a) and (b). 

Step R and pirouette, 2 counts. 


4 measures. 


(c) 


With 20 large steps, starting R, run around circle, 
keeping back to center. 

Step R in center of stage and pirouette, ending with 
arms stretched out over head, and head flung back, 

4 measures. 


Figure 5 —22 measures. 

Four couples jump up from the group and take places in 
four corners of a square around the solo dancer. Man 
joins solo dancer as her partner for this step. This 


51 





action must be spontaneous, as though the solo dancer 
had excited the rest so that they could no longer keep 
still. 

The girls stand with their backs to the center of the circle. 
The weight is on the L foot and the R foot is extended 
toward partner. The R hand clasps partner’s R hand, 
the L arm is flung straight up over head. 

The men stand facing the center of the circle in the same 
position as the girls. 

The solo dancer and her partner take the same position as 
the rest of the group, standing in the center of the stage. 

Hold position for 2 counts, then, swinging L arm down at 
side and keeping R hands joined, exchange places with 
partner with 4 running steps, starting R. 1 measure. 

Repeat back to place. 1 measure. 

Hold original position for 2 counts, then, placing hands 
on hips, with 5 two-steps, starting R, each girl advances 
toward the man in the couple on her L, each man ad¬ 
vances toward girl in the couple on his L, while the 
central dancers dance around each other. 2 measures. 

Take both hands of new partner and with feet together and 
bodies stretched away from partner, heads flung back, 
swing partner around in place. 4 measures. 

Repeat whole, using two-steps to return to original 
partner. 8 measures. 

Men stand in place facing center of stage, with arms folded 
and held high, watching the girls dancing around them. 

Girls with hands on hips dance around partners with 11 
waltz steps, starting R, and a pirouette L in front of 
partner. 4 measures. 


52 


Girl pirouettes R in front of man, who holds position, then 
man takes girl’s L hand in his L hand and lets her fall 
back over his R arm, while she supports herself with 
her R foot on the ground, her R knee bent and her L 
leg extended in the air. 2 measures. 

As music ends, all exeunt laughing, singing and striking 
tambourines. 

COSTUMES 

Girls: Short, bright-colored skirts and blouses; bare legs; 
scarfs tied over the head; beads, earrings, bracelets, etc. 

Men: Long dark trousers, bright-colored shirts, and scarfs 
tied around the hips. 

A CHRISTMAS SERVICE 

Time. Christmas Eve. 

Peace. A dimly lighted hall or church. 

Persons in the Tableau. 

The Three Wise Men 
A Shepherd 
An Angel 

Mary, Joseph and the Child 
A group of singers in choir robes 

The Setting. A dark curtain background. 

The audience is seated in a dimly lighted hall, at the win¬ 
dows of which long Christmas tapers are burning. When 
everything is still, far outside in the distance “Adeste 
Eideles” is heard. The song comes nearer. A group 


53 


of singers dressed in choir robes enter and pass up the 
center aisle, singing in a glad, spirited fashion. 

O come, all ye faithful, joyful and triumphant, 

O come ye, O come ye to Bethlehem; 

Come and behold Him born the King of Angels; 

O come, let us adore Him, 

O come, let us adore Him, 

O come, let us adore Him, Christ the Lord. 

They group themselves in a semicircle in front of the 
stage, kneeling as they sing the “Amen.” The lighted 
tapers which they carry throw a lively, warm light on 
their young faces. 

The curtains part, revealing the tableau of the Three Wise 
Men, their gifts of gold, frankincense and myrrh. They 
enter from the right and slowly move across the stage 
toward a great light, singing. 

Tune: Traditional Melody 
We three Kings of Orient are, 

Bearing gifts, we wander afar 

Field and fountain, moor and mountain, 

Following yonder star. 

The singers down in front sing the chorus: 

O star of wonder, star of might, 

Star with royal beauty bright, 

Westward leading, still proceeding, 

Guide us to thy perfect light. 


54 


The King bearing gold sings: 

Born a King on Bethlehem plain, 
Gold I bring to crown Him again, 
King for ever, ceasing never 
Over us all to reign. 

The chorus chants: 

“0 star of wonder” etc. 

The King bearing frankincense, sings: 
Frankincense to offer have I; 
Incense owns a Deity nigh; 

Prayer and praising all men raising, 
Worship Him, God on high. 

Chorus chants the refrain: 

“O star of wonder” etc. 

The King bearing myrrh sings: 

Myrrh is mine; its bitter perfume 
Breathes a life of gathering gloom: 
Sorrowing, sighing, bleeding, dying, 
Sealed in the stone-cold tomb. 

The chorus chants: 

“O star of wonder” etc. 

All three Kings sing: 

Glorious now behold Him arise, 

King and God and Sacrifice; 

Heaven sings Alleluia; 

Alleluia, the earth replies. 


55 


The chorus chants the refrain and the Three Wise Men 
go off to the left in the direction from which the light 
came. The curtains close and choir sings: 

Tune: Carol , by R. S. Willis 
It came upon the midnight clear, 

That glorious song of old, 

From angels bending near the earth 
To touch their harps of gold. 

“Peace on the earth, good-will to men, 

From heaven’s all-gracious King,” 

The world in solemn stillness lay, 

To hear the angels sing. 

They swing from the “Amen” of this hymn to another old 
familiar one, “While Shepherds Watched Their Flocks 
by Night.” The curtain rises, revealing the tableau of 
the Shepherds. The persons in the picture pantomime 
the action as the chorus sings the words. 

While shepherds watched their flocks by night, 

All seated on the ground, 

An angel of the Lord came down 
And glory shone around. 

And glory shone around. 

Fear not, said he, for trembling dread 
Had seized their troubled minds, 

Good tidings of great joy I bring 
To you and all mankind. 

To you and all mankind. 


56 


To you in David’s town this day 
Is born of David’s line, 

A Savior who is Christ the Lord 
And this shall be the sign. 

And this shall be the sign. 

The curtains close on the “Amen.” The chorus sings: 
Tune: Old Traditional German Melody. 

Silent night, holy night, 

Darkness flies, all is light, 

Shepherds hear the angels sing 
Alleluia, hail the King, 

Christ, the Saviour is here, 

Jesus, the Saviour is here! 

Silent night, holy night, 

Guiding star, lend thy light! 

With the angels let us sing 
Alleluia to our King, 

Christ, the Saviour is here, 

Jesus, the Saviour is here! 

After the “Amen” the chorus sings “Sleep, Holy Child,” as 
the curtain rises on the tableau of the Nativity. 

English version by Frederick H. Martens; tune: Old 
French Noel , arranged by Herbert Tones. 

Lying around the oxen mild, 

Sleep, sleep, sleep, O Holy Child! 

Round Thee as they wing, 

Guardian angels sing, 


57 


Homage pay to Thee, 

To infant love’s sweet King. 

Sleep, sleep, sleep, O Holy Child! 

2nd. Roses and lilies round Thee piled, etc. 

3rd. Dreams by the shepherds’ song beguiled. 

The curtain closes as the chorus chants with bowed head 
the “Amen.” The singers rise and turning toward the 
audience sing “Joy to the World.” 

Tune: Antioch. 

Joy to the world! The Lord is come, 

Let earth receive her King, 

Let every heart prepare Him room, 

And heaven and nature sing, 

And heaven and nature sing, 

And heaven, and heaven and nature sing. 

He rules the world with truth and grace. 

And makes the nations prove 
The glories of His righteousness 
And wonders of His love, 

And wonders of His love, 

And wonders, and wonders of His love. 

The music changes to the same processional to which they 
entered. The chorus, with lighted tapers held high, pass 
down the aisle and away, singing as they go. 

Adeste Fideles. 

Yea, Lord, we greet Thee, born this happy morning, 
Jesus, to Thee be all glory given: 


58 


Word of the Father, now in flesh appearing: 

O come, let us adore Him, 

O come, let us adore Him, 

O come let us adore Him, Christ the Lord. 

The “Amen” is heard way in the distance. The tableau is 
ended. 

SETTING 

Across the width of the stage is a dark curtain which hangs 
in deep folds. It opens in the center on a space wide and 
deep enough to stage each of the three pictures. Across 
the back of this space there should be a dark, midnight- 
blue, starry background against which each picture is 
set. 

DESCRIPTION OF THE PICTURES 
The Three Wise Men 

The first picture is of the Three Wise Men on their way 
to Bethlehem. They are dressed in oriental robes and 
turbans. The first carries a pot of gold; the second, 
a jeweled casket filled with frankincense; the third, an 
incense holder filled with myrrh. As the curtains part, 
they enter from the right. Their gaze is fixed on a great 
light which streams from off-stage, left, on their up¬ 
turned faces. They move slowly across the stage and 
toward the light as they sing “We Three Kings of 
Orient Are.” 

The Angel and the Shepherds 

The second picture is of the Shepherds watching their 
flocks by night. When the curtains part, two shepherds 


59 


are seated at the right of the picture, half reclining 
against a rock. At their feet another lies asleep. A 
little to the left-center of the picture, two others are 
stretched on the ground. Suddenly there is a great 
light off-stage, at the left, and an angel robed in white 
appears from the direction in which the light comes. 
The shepherds sink back in fear and awe. The angel 
raises her left hand in token of peace, and turning to¬ 
ward the light, points with her right hand toward 
Bethlehem, where the Christ is born. The shepherds 
gaze a moment and then start to rise and follow, as the 
angel moves away in the direction of the light. 

The Nativity 

The last picture is the Nativity of the Manger. In the 
center sits Mary bending over the Christ Child. Behind 
her stands Joseph. Kneeling in front of her and a little 
to her left are the Three Wise Men, to her right the 
same shepherds to whom the angel appeared. The Wise 
Man at the extreme right of the picture stands with 
bowed head; the other two, at his left, kneel, one with 
outstretched hands, the other with head and shoulders 
bent low. At the extreme left of the picture a stalwart 
shepherd leans upon his staff, his gaze fixed in wonder 
upon the Child. At his right, one companion kneels; 
the others are prostrated on the ground. All the light 
in the picture seems to radiate from the Child, casting 
a beautiful radiance on the face of the Virgin. The 
figures stand immovable, wrapped in worshipful awe, as 
the choir sings “Sleep, Holy Child.” 


60 






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